Another example of this dream world that girls are in occurs when Marlow tells the Intended of Kurtz's last words. Like Marlow's aunt, the Supposed represents women of Victorian England in that her truth was predicated on "the faith that was at her. . . that great and saving illusion that shone with an unearthly shine in the darkness" (133). To Marlow, women must live in a perfect world: "They-the women I mean-are out of it-should be out of it. We should help them in which to stay that beautiful world of their own, lest ours get worse" (97). Again, women are shown to be ignorant of actuality and are cared for in view of this, such as when Kurtz describes the Intended as you item in a set of his property: "My supposed, my ivory, my station, my river, my-" (97). Notice, however, that only Marlow and Kurtz make these responses on the ignorance of women, which is for this reason view that Marlow lays to the Intended.
In contrast to the Intended, the local mistress' first appearance gives readers an image of a bold and courageous female. She alone stands on the shoreline as men fire guns at the natives and is also referred to as a "wild and beautiful apparition of a female. . . savage and superb, wild-eyed and spectacular" (113). The image she radiates seems unlike that of Marlow's aunt or the Intended, for the reason that the native female has a commanding existence within her tribe. In actuality, despite the appearance worth focusing on, she is regarded as by men as expendable. The Russian says, "If she experienced wanted to come aboard I must say i think I'd have tried out to photograph her" (114). Marlow and his men are allowed to help Kurtz, however the native female is not permitted to suggest assisting.
This inferiority of the local mistress in the Congo parallels the same role of the Designed in Western european civilization: women are helpless without men. This is obvious when "the barbarous and superb female. . . stretched tragically her bare forearms after us in the somber and glittering river" (122), similar to when the Intended "released her arms as if following a retreating figure, stretching out them back and with clasped pale hands. . . resembling in this gesture another one, tragic also, and bedecked with powerless charms, stretching bare brown arms in the glitter of the infernal stream, the blast of darkness" (134). Symbolically, this action implies the inexplicable female reliance on men for the reason that both women reached out for Kurtz. Furthermore, the gesture demonstrates a area of women cultured by men, a refusal to accept reality. This is also shown by the native woman's clear unawareness of Kurtz's atrocities.
When considering all the male influences on ladies in the novel, it is impossible to aid the notion that women were in any sense important. In the complete Heart and soul of Darkness, few women are stated. The ones that are have minor functions and are either regarded as inferior compared to men or detached from fact, despite having an artificial sense of value. This view of women is representative of the Victorian era in that women were male property. The need for this notion, however, is that it is blatantly exemplified in the book, nurturing the question of whether Conrad also placed the same view as the men in the storyplot.
This isn't only prevalent in Heart and soul of Darkness, but it could be seen everywhere ever sold, right now.